RC 389: Ghosts

WEBVTT

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Hello, welcome to Radio Clash.

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I managed to wrest the podcast away from the robots, the Ghosts in The Machine.

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Nice to take over.

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It’s 389 and it’s called Ghosts as the AI voices said.

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Yeah, that was because there was four tracks I wanted to play as the intro track.

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And so I thought, well, why don’t I play all four of them?

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At least two of them.

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You’re not supposed to start with a downtempo track, but the fact that it was so queer left field choices.

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Most of those, yeah, it seemed to fit, especially for a not Halloween episode of Radio Clash.

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It’s Halloween adjacent, hence called Ghosts.

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You won’t be hearing Monster Mash or Thriller or Ghostbusters.

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Yay, or Dragula or any of those because I’m just tired of Halloween.

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I’m tired of it becoming the spooky Christmas, commercial.

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Even though DJNoNo did do a surprise Halloween mashup with Taylor Swift.

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He’s a bit of a Swifty versus Spooky Ccary Skeletons Skellingtons by Andrew Gold.

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No, I don’t know.

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A drum and bass remix of that, especially for Adriana because she was saying how much she

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didn’t like spooky scary skeletons, but how they weren’t enough mashups of Haunted.

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But we’re not playing on this podcast either.

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This podcast is very much about defying expectation, especially for Halloween show.

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So that was Max Tundra with This Woman’s Work, which is a recent release from this year.

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I heard it on Don Letts’ show.

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I don’t know exactly when it was released.

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I think it’s released in the last month or so.

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Similarly, M(h)aol.

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We’ve played M(h)aol M Brackets H AOL before on this podcast.

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And they recently released an album called Attachment Styles, and that’s Bisexual Anxiety.

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And there’s not enough bisexual music.

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There’s not enough bi-pride on this podcast.

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So putting that right.

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Good how someone talk about that stuff because they seem to get it from both sides and not

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in a good way.

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Then before that, we had One Oh Trix Point Never with A Barely Lit Path.

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I love the album.

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It’s an album called Again, which was recently released apparently about his 40 year old

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self talking to his 20 year old self or his younger self.

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And the video is amazing.

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It seems to be a child as well because it’s got two car crash dummies, but they’re riding

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the back of the car and they’re not in control of where they’re going.

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It goes all very psychedelic.

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But I think there’s a lot of existential stuff in that track.

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Lots of things about the Barely Lit Path and not really knowing anything and you know,

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path to your house.

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You don’t know his childhood or talking about the barely lit path through life.

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Then we had a bit of a riff.

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Riffusion is an AI music generator where you can create your own songs.

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They’re all like 11 seconds, but they’re brilliant for jingles.

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So you will hear not more in this podcast, but in future you might hear some of those

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popping up.

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But I’m not a big thing on jingles.

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I have to say I did a whole load of them and I was like Tim, you don’t play many jingles

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on the podcast.

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I’m very anti-jingle.

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But anyway, I found it bizarre because it was like some avant-garde kids thing that

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one.

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Then before that we had Help Me I’m Gay by Lambrini Girls.

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I’ve been really digging Lambrini Girls.

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Just a new EP, their first EP called You’re Welcome.

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They are brilliant.

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Then 6Music, but that was Iggy Pop.

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Iggy Pop’s been playing them and that was the first one.

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I was like, wow, yes, I like that.

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I like that a lot.

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Apparently the lead singer wasn’t out to her mum when she first did that and her mum was

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in the audience.

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She had to quickly come out.

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I think she came out to her mum on stage and said, “Hi, mum, I’m gay.”

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Then went into it.

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Apparently everything was fine.

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Then we had another of those very strange…

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I was doing stuff like trying to do country polka.

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I came up with this concept of Xylophone Rock, accordion rock.

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That’s the kind of things I was doing.

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So yeah, there was a little jingle there.

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Then in the start from There I Ruined It.

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Also AI generated that’s the Beach Boys Sing Hurt, Hurtin USA.

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That’s the Beach Boys Singing Nine Inch Nails, which I like a lot.

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Now we go on to the track that actually I was planning to start before I came across

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those other tracks.

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So it’s a bit of a false start.

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A bit of a spooky, spooky false start.

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The Hidden Door.

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This is JARV IS… and I haven’t seen what this is from.

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This is from This Is Going to Hurt.

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The series performed from the…

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I suppose diaries or the book.

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This is Going to Hurt by Adam Kay.

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And you might go, who’s Adam Kay, we’ve played him on the podcast long, long time ago.

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We played his a formed band because he was in the Amateur Transplants and we played the

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London Underground song.

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We played a few of theirs and he’s aware of that as well.

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I know that through a third party that he was told about the podcast.

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And so I’m not actually watched the series, but JARV IS…, the band run by Jarvis Cocker,

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did the soundtrack.

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I do this quite often, listen to the soundtrack and don’t watch the thing.

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So it’s a tad out of context.

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I don’t know how this was used in the series, but I love this.

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It’s a bit like Cunts Are Running The World.

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He says everything I’d like to say at the moment.

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So this is Fuck This.

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That’s Michael the DJ.

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with Move Out of my Head.

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Billy Joel, Anthony,

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versus Kylie’s, get out of my head, obviously.

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Now before that, we had Where’s Your Padam at?

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by Hallmighty.

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Oh, I’ve got to say that Michael the DJ is from 2021.

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It’s an old one.

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Before all of that, I don’t understand why Anthony, Billy Joel, is everywhere.

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It’s kind of become this meme thing.

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I assume TikTok is always just blame TikTok.

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And then we had Where’s Your Padam at?

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Hallmighty, Basement Jaxx versus Kylie.

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That’s one of his secret tracks.

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You have to go on a secret M(h)aoling list and knock three times and say the secret password to find

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that one.

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And then before that, we had Meatraffle.

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We had a Brixton link there because Basement Jaxx is South of the River.

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Brixton, So is Meatraffle, I think.

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That’s the Lovesong Industrial Complex from a Base And Superstructure, the new album.

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And yeah, it’s always good to hear from them.

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Then before that, we had Chickle, Chickle, Chickle, what Chickle?

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Tickle Tune Typhoon with Vega Boogie.

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And that’s from 1984, I think.

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Yep, from Circle Around.

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And Tickle Tune Typhoon, an interesting group of people who did

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well, it’s kind of kid’s tunes, but it’s kind of Wiggles Before the Wiggles.

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They were doing that kind of thing.

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And Danny Deardorff, who we have played before in Danny and Joyce on this podcast.

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Remember a track called Stars?

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If you’ve heard it once, you’ll never forget it.

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I did a deep dive because someone posted that cover of the album, Ma La Lady, or

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given it in a wheelchair.

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It’s something we made fun about in malady, obviously.

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He went on to have quite a successful music career, opened many a time for Seals and Croft.

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Did a duo with… Danny and Joseph after Danny and Joyce, because after he left his first wife,

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then was in Tickle Typhoon with a lot of other people.

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Though he’s not on that track, but you will hear a track with Danny Deardorff later on.

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That was Vega Boogie.

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You don’t get many raps to vegetables.

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Then before that, we had Sank, with Is It In?

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You Should Be Dancing, Jimmy ‘Bo’ Horne versus Bee Gees.

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That got in because there’s been so many Bee Gees mashups.

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So not so many Jimmy ‘Bo’ Horne and it’s rude.

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And I like it.

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And I like to mix in with children’s tunes, as you do.

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Then before that, we had Jacana People, another new track called Twist Forever.

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I think Jacana People are Serbian house electronic producers,

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featuring Antony Szmierek.

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It’s always good to hear from him.

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And I seem to work with this sort of getting lost deep vibe from the previous track,

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which is Lost in the Deep.

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The Lost Art of Rolling in the Deep.

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Adele versus Queens of the Stone Age by me Instamatic.

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I’d forgotten about that mashup.

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Have to say thank you to Will Battle.

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iWillBattle for reminding me because he played on his Twitch show,

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Mashups Rock, which is on Tuesdays.

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And it was funny because the first 10, 15 was like,

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this is really familiar.

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Oh, it’s one of mine.

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I did it for a challenge and I completely forgot about it.

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And I did have it in the stack to play on the podcast, but never did.

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It is this year, but it’s way earlier in the year.

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It’s six, eight months ago.

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So I forget about mashups.

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I forget what I’ve done.

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And then before that, we had Big Joanie with Cranes in the Sky, Solange Knowles cover.

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That came out in 2020.

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It’s weird.

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Sometimes a song sells me on a band and there’s a song from them,

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which I’ll play right at the end, which sold me on Big Joanie because 6Music,

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sort of Lard, Lamacq, lots of people have been playing Big Joanie

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because they’re a London queer black feminist pong group.

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So I knew the name.

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I’d heard the songs, but nothing really struck me.

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And I heard a song which was like, wow.

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And then I went diving and then heard that.

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Oh, Cranes in the Sky.

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I draw a lot of cranes.

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It’s a bit neurodiverse and obsession with cranes.

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So we’re cranes.

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I’ll listen to a song about cranes in the sky because I like cranes.

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And I found out it’s a really good song.

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And then I was like, oh, it’s by Solange Knowles.

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Because I really generally don’t like Solange’s work.

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I appreciate what she does and she’s very talented.

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Her sister has to write with about 10 different people.

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She does write a lot of this stuff and is really interesting.

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But the music doesn’t really match up to the sort of indie Beyonce type thing, does it?

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Not really the same.

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But I actually really liked that video and the original song as well,

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because what it’s talking about about kind of like roaming around and running away from

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your problems and never really finding home.

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Yeah, of course I’d resonate with that.

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Then before that we had JARV IS… with Fuck This.

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I don’t know if they cover in that about Adam Kay leaving for comedy and

00:57:14.320 –> 00:57:16.720
jacking in his job.

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I think they alluded to it.

00:57:17.600 –> 00:57:18.880
But yeah, it might be about that.

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Or maybe it’s about consultants and the NHS.

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I don’t really know.

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I must watch it.

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So are you going to play a track which goes out to Lee Spoons because he mentioned it.

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On Blue Sky.

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I’m on Blue Sky.

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If you look on fingertrable.bsky.social.

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So I’m on Blue Sky.

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The thing taking over from Twitter because Twitter is becoming a complete dumpster fire.

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And he mentioned it on there and I was like, oh wow, I like this.

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I never realised that not only does this have apparently according to him like 23, 24 key changes in it.

00:57:56.000 –> 00:58:03.520
But also I never realised someone that had done a sort of a trance house cover of Wendy Carlos.

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This is The Orang Theme by Cygnus X.

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That was Terra Firma by Enola Gay featuring Mount Palomar.

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Not either band, I know very well.

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I went and checked them out after I heard that song.

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I love that song and it’s like a folk dance song.

01:18:16.400 –> 01:18:19.680
And Enola Gay are usually much more noisy and shoutier.

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So it’s kind of very different from what they usually do.

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But I like it.

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I like it a lot.

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And I heard that via Round Table.

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I think one of the last Lamacq Round Table because Steve Lamacq is doing one show a week.

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He spent last 30 odd years doing the drive time show.

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Obviously not on 6Music, he’s been going that long.

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But yeah, I’m ready one and then 6Music.

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And that went down very well with them.

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Usually things are a bit more electronic, a bit more off kilter.

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Don’t go down very well with the Round Table.

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I guess, but I did.

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Then before that we had Perk and Pixel Empire with Innocent Dreams from an album, a collaboration

01:18:58.720 –> 01:19:00.960
album called Matchup with Mild Sauce.

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Which I heard of via MixMstrStel.

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And that includes Flume, Burial, Fleetwood Mac, obviously Fleetwood Mac.

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And the Burial and Fleetwood Mac is what’s selling on me.

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And Morcheeba, Moog Island.

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Interesting compilation.

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The people I don’t really know apart from MixMstrStel.

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It’s always good to check out stuff via our mashups.

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Discord and the Reddit.

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Which I do from times to times.

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Before I heard the Michael the DJ track, a few other things.

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Then before that we had Dwarde with Forever.

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I have to thank Aaron for that.

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Paige’s brother who posted about that on his Facebook.

01:19:40.880 –> 01:19:43.240
So actually not about that, I wanted to do the tracks.

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And I actually preferred that one more.

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Because I love that Jungle meets soul vocals.

01:19:47.840 –> 01:19:48.840
I’m always a sucker for that.

01:19:48.840 –> 01:19:52.360
And I know of Dwarde via their work with Tim Reaper.

01:19:52.360 –> 01:19:56.080
And that’s from a record label called Deep Jungle.

01:19:56.080 –> 01:19:58.760
Who also re-released track before it.

01:19:58.760 –> 01:20:01.320
Which is 4AM by Orca.

01:20:01.320 –> 01:20:03.520
I don’t know if they re-released that mix.

01:20:03.520 –> 01:20:05.200
But I like that mix the best.

01:20:05.200 –> 01:20:06.600
That’s remix one.

01:20:06.600 –> 01:20:08.120
Although sometimes it’s called remix two.

01:20:08.120 –> 01:20:09.840
It’s very confusing.

01:20:09.840 –> 01:20:11.640
And that’s originally from 1993.

01:20:11.640 –> 01:20:13.640
4AM, the remixes and originals.

01:20:13.640 –> 01:20:15.200
There’s a white label.

01:20:15.200 –> 01:20:18.000
They tend to, not completely.

01:20:18.000 –> 01:20:19.200
They do some new stuff now.

01:20:19.200 –> 01:20:22.040
But they started out releasing, and still do,

01:20:22.040 –> 01:20:26.480
release a lot of 90s Jungle on the Deep Jungle label.

01:20:26.480 –> 01:20:28.600
But they seem to be branching out to more newer things.

01:20:28.600 –> 01:20:30.280
Hence the Dwarde and the Tim Reaper.

01:20:30.280 –> 01:20:32.760
Who have released things on that label.

01:20:32.760 –> 01:20:36.400
But I like this idea of taking, they had like Dillinja.

01:20:36.400 –> 01:20:37.560
Old Dillinja tracks on there.

01:20:37.560 –> 01:20:40.480
So that’s the first time capsule that’s old.

01:20:40.480 –> 01:20:42.720
I suspect someone might be off tape.

01:20:42.720 –> 01:20:44.560
But it’s always fascinating here.

01:20:44.560 –> 01:20:47.120
There’s old Jungle Pirate Radio classic.

01:20:47.120 –> 01:20:49.680
You never hear again, usually.

01:20:49.680 –> 01:20:52.160
Then before that we had Marusha.

01:20:52.160 –> 01:20:53.600
Also from the 90s.

01:20:53.600 –> 01:20:56.360
’94, that’s Somewhere Over The Rainbow.

01:20:56.360 –> 01:20:59.640
And I have to thank PDSMix for introducing me to that.

01:20:59.640 –> 01:21:01.920
And that’s a bit of sort of Berlin Electronica.

01:21:01.920 –> 01:21:03.280
So Berlin DJ, I think.

01:21:03.280 –> 01:21:05.280
Love parade, like stuff.

01:21:05.280 –> 01:21:08.080
But I love the fact that there’s a hardcore.

01:21:08.080 –> 01:21:10.320
Is that hardcore?

01:21:10.320 –> 01:21:12.200
Is that more, it’s not really trance.

01:21:12.200 –> 01:21:13.160
I wouldn’t call that trance.

01:21:13.160 –> 01:21:14.800
So I would call that more Hardhouse,

01:21:14.800 –> 01:21:16.480
or not really Fat as Gabba,

01:21:16.480 –> 01:21:19.520
but yeah, sort of Gabba-ry Hardhouse remix

01:21:19.520 –> 01:21:22.600
of Cover of Somewhere Over the Rainbow.

01:21:22.600 –> 01:21:26.960
Then before that we had Cygnus X from 2000.

01:21:26.960 –> 01:21:29.680
Although again, I’m not sure if that’s correct, that date.

01:21:29.680 –> 01:21:31.520
The Orange theme, the original mix.

01:21:31.520 –> 01:21:34.800
‘Cause it’s always a problem with compilations

01:21:34.800 –> 01:21:37.640
and re-releases and remixes and stuff.

01:21:37.640 –> 01:21:41.560
You never totally know if that’s actually the correct date.

01:21:41.560 –> 01:21:44.640
But somewhere around then, somewhence.

01:21:44.640 –> 01:21:49.120
So yes, we’re now gonna play a more of a spooky,

01:21:49.120 –> 01:21:50.840
well, it’s not really a spooky track,

01:21:50.840 –> 01:21:54.280
but you’ll find the ghost theme running through

01:21:54.280 –> 01:21:55.200
in some of the sounds.

01:21:55.200 –> 01:21:57.640
It’s more being inspired by things

01:21:57.640 –> 01:21:58.920
that are a little bit more spooky

01:21:58.920 –> 01:22:01.200
and a bit more dark and a bit more,

01:22:01.200 –> 01:22:03.440
even just the woo, noise.

01:22:03.440 –> 01:22:04.800
Yeah, don’t do that again.

01:22:04.800 –> 01:22:06.640
And this has it a lot.

01:22:06.640 –> 01:22:10.800
It’s a trend that actually has been in a lot of podcasts

01:22:10.800 –> 01:22:11.640
having taken out.

01:22:11.640 –> 01:22:13.440
And it seemed to be more appropriate for this.

01:22:13.440 –> 01:22:15.520
And this is from 1982,

01:22:15.520 –> 01:22:18.040
Waldir Calmon and Afro Son.

01:22:18.040 –> 01:22:19.920
But you probably will recognize this

01:22:19.920 –> 01:22:24.600
’cause it’s a very naughty, I think, Brazilian or South American

01:22:24.600 –> 01:22:27.040
steal of a track you might recognize.

02:02:43.320 –> 02:02:46.120
That was, Big Joanie.

02:02:46.760 –> 02:02:49.920
Into My Arms (Reprise)

02:02:49.920 –> 02:02:52.080
from their album,

02:02:52.080 –> 02:02:53.800
from last year Back Home,

02:02:53.800 –> 02:02:55.280
and checked out Big Joanie partly

02:02:55.280 –> 02:02:57.760
because I saw an article about

02:02:57.760 –> 02:03:00.480
Lambrini Girls and M(h)aol

02:03:00.480 –> 02:03:01.480
animation Big Joanie,

02:03:01.480 –> 02:03:02.320
and I was like, oh yeah,

02:03:02.320 –> 02:03:03.360
never really checked them out.

02:03:03.360 –> 02:03:06.400
The original of that sounds very New-Ordery.

02:03:06.400 –> 02:03:08.320
Sounds almost like New Order to me.

02:03:08.320 –> 02:03:10.160
New Order maybe crossed with a bit of

02:03:10.160 –> 02:03:12.360
doo-wop Motown girl group,

02:03:12.360 –> 02:03:15.080
but it’s still quite new-ordery in the synths

02:03:15.080 –> 02:03:17.000
and the guitars.

02:03:17.000 –> 02:03:19.040
I much prefer that Be My Baby

02:03:19.040 –> 02:03:22.120
Ronettes version rather than the actual single.

02:03:22.120 –> 02:03:24.040
The video’s brilliant as well.

02:03:24.040 –> 02:03:26.000
Then before that, we heard Rosita.

02:03:26.000 –> 02:03:26.720
with Down Here,

02:03:26.720 –> 02:03:28.320
Rosita being the band formed

02:03:28.320 –> 02:03:30.960
by two of the members of Kenickie.

02:03:30.960 –> 02:03:34.400
And that’s from 2000’s Santa Pocas Dream EP.

02:03:34.400 –> 02:03:36.200
I’d heard the odd thing from Rosita,

02:03:36.200 –> 02:03:38.320
and it hadn’t really stuck.

02:03:38.320 –> 02:03:40.240
And I kind of did a bigger dive

02:03:40.240 –> 02:03:41.880
because I was reading about, you know,

02:03:41.880 –> 02:03:43.040
the end of Kenickie and thinking,

02:03:43.040 –> 02:03:44.560
what did they do?

02:03:44.560 –> 02:03:48.480
Johnny X became J Xaverre.

02:03:48.480 –> 02:03:49.800
And you can find him on band camp.

02:03:49.800 –> 02:03:51.520
He’s still producing music.

02:03:51.520 –> 02:03:54.560
I think one of them became a lecturer in sociology.

02:03:54.560 –> 02:03:56.760
And obviously, Lauren Laverne is on,

02:03:56.760 –> 02:03:59.000
as I present her now, but it’s very sad.

02:03:59.000 –> 02:04:00.840
I’m still pissed off about Kenickie splitting.

02:04:00.840 –> 02:04:01.800
They were my group.

02:04:01.800 –> 02:04:04.240
Pulp and them were like my groups really.

02:04:04.240 –> 02:04:07.760
And I was really, really upset when they split.

02:04:07.760 –> 02:04:09.120
And I really liked that.

02:04:09.120 –> 02:04:10.960
And it’s kind of weird

02:04:10.960 –> 02:04:13.120
because some of the songs I don’t really get,

02:04:13.120 –> 02:04:16.240
but that one, I’m like, oh, that’s really good.

02:04:16.240 –> 02:04:17.200
But there’s a few bits in it.

02:04:17.200 –> 02:04:19.240
Like my old name doesn’t mean anything, you know,

02:04:19.240 –> 02:04:20.080
that kind of thing.

02:04:20.080 –> 02:04:22.560
I’m like, hmm, yes.

02:04:22.560 –> 02:04:23.520
I don’t know when it was written,

02:04:23.520 –> 02:04:26.040
but bits of it sounded a little bit

02:04:26.040 –> 02:04:28.640
possibly referring to the end of Kenickie.

02:04:28.640 –> 02:04:30.320
Something has that vibe.

02:04:30.320 –> 02:04:33.240
And then before that, we had The Monkees

02:04:33.240 –> 02:04:35.320
with Me and Magdalena.

02:04:35.320 –> 02:04:39.560
That’s from their last album, Good Times from 2016.

02:04:39.560 –> 02:04:41.440
And that was written by Ben Gibbard,

02:04:41.440 –> 02:04:44.120
otherwise known as Death Cab for Cutie.

02:04:44.120 –> 02:04:46.680
And I think I did hear at the time.

02:04:46.680 –> 02:04:47.600
I’m pretty sure I heard it,

02:04:47.600 –> 02:04:52.440
but I checked it out again and I was like, wow.

02:04:52.440 –> 02:04:55.440
That’s, it’s surprisingly good song

02:04:55.440 –> 02:04:56.600
for The Monkees to sing,

02:04:56.600 –> 02:04:59.280
but they do it justice and it’s very sad to hear.

02:04:59.280 –> 02:05:02.400
You didn’t hear a Mike’s Nesmith and Mickey

02:05:02.400 –> 02:05:03.240
on the same track.

02:05:03.240 –> 02:05:05.240
Generally they did their own backing vocals,

02:05:05.240 –> 02:05:06.560
or they might do some backing vocals,

02:05:06.560 –> 02:05:08.560
not as like a duet.

02:05:08.560 –> 02:05:09.960
And that worked really well.

02:05:09.960 –> 02:05:11.160
The rest of the album is kind of like,

02:05:11.160 –> 02:05:14.920
Bubblegum, Pop, Surfy, Adam Schlesinger

02:05:14.920 –> 02:05:17.000
RIP, put the album together.

02:05:17.000 –> 02:05:19.240
But there’s also things like weirdly Paul Weller,

02:05:19.240 –> 02:05:22.200
and Noel Gallagher did a song for it and things like that,

02:05:22.200 –> 02:05:24.320
which I don’t think totally works, but.

02:05:24.320 –> 02:05:25.160
Well, I mean, I suppose they didn’t,

02:05:25.160 –> 02:05:26.520
they’re totally their last album.

02:05:26.520 –> 02:05:27.520
They did a Christmas album.

02:05:27.520 –> 02:05:30.080
This last full album, they did a Christmas album.

02:05:30.080 –> 02:05:32.080
And that was the last, then Peter Tork died

02:05:32.080 –> 02:05:34.120
and then Mike Nessith.

02:05:34.120 –> 02:05:36.320
And so it’s only just Micey Dolenz anymore.

02:05:36.320 –> 02:05:38.040
And I’ve not heard that R.E.M album yet.

02:05:38.040 –> 02:05:39.240
I’m not sure it’s out yet.

02:05:39.240 –> 02:05:40.920
They did an R.E.M. covers album,

02:05:40.920 –> 02:05:42.320
which I posted about on the blog,

02:05:42.320 –> 02:05:44.560
which I would like to hear.

02:05:44.560 –> 02:05:46.920
And then before that, we had Courtney Barnett

02:05:46.920 –> 02:05:51.920
with He’s the Thing from 2021’s Things Take Time, Take Time.

02:05:51.920 –> 02:05:53.080
It’s interesting.

02:05:53.080 –> 02:05:54.360
I don’t know what’s going on with Courtney Barnett.

02:05:54.360 –> 02:05:58.400
She’s ended her record label a few months ago,

02:05:58.400 –> 02:06:02.560
released an album of really a live jam soundtrack

02:06:02.560 –> 02:06:05.480
to a tour film about her.

02:06:05.480 –> 02:06:07.160
And that was the last thing on that label.

02:06:07.160 –> 02:06:09.160
So I don’t know what’s going on with that,

02:06:09.160 –> 02:06:10.520
’cause she ran that label for,

02:06:10.520 –> 02:06:12.800
must be at least 15, maybe 20 years.

02:06:12.800 –> 02:06:15.640
I was kind of passed by some of the singles,

02:06:15.640 –> 02:06:17.880
but that one is really good.

02:06:17.880 –> 02:06:20.440
I don’t know, it was a weird time to do very upbeat,

02:06:20.440 –> 02:06:21.280
happy music.

02:06:21.280 –> 02:06:24.360
It was a very downbeat time during the lockdown.

02:06:24.360 –> 02:06:27.000
I think the timing was wrong for that album.

02:06:27.000 –> 02:06:30.360
Then before that, we had Tickle Tune Typhoon.

02:06:30.360 –> 02:06:31.680
That’s Little Owket,

02:06:31.680 –> 02:06:36.680
sung by Danny Deardoff from 1994’s Baby Tickle Tunes,

02:06:36.680 –> 02:06:39.000
Patty Cakes and Peek-A-Boo’s.

02:06:39.000 –> 02:06:41.440
Danny Deardoff sadly died in 2018.

02:06:41.440 –> 02:06:45.440
I didn’t know that until I did my deep dive onto his work.

02:06:45.440 –> 02:06:49.440
He had to be lifted on stage and used a wheelchair

02:06:49.440 –> 02:06:52.320
and sang sort of lying down.

02:06:52.320 –> 02:06:55.560
And the story goes is that Seals and Croft,

02:06:55.560 –> 02:07:00.320
he ended up a tape to them and they loved his work.

02:07:00.320 –> 02:07:04.280
And so he was supporting them with his Danny and Joseph band.

02:07:04.280 –> 02:07:06.680
And the promoters were like,

02:07:06.680 –> 02:07:08.680
“Oh, we want you back” but were horrified.

02:07:08.680 –> 02:07:11.520
They wanted them to drop the support act.

02:07:11.520 –> 02:07:13.600
And they were like, “Sorry, if Danny doesn’t play,

02:07:13.600 –> 02:07:15.120
“we’re not playing.”

02:07:15.120 –> 02:07:18.960
And they stuck with that, even as promoters were upset.

02:07:18.960 –> 02:07:19.800
They were like, “Nope.”

02:07:19.800 –> 02:07:23.000
And that’s the way it was back then in the ’70s and ’80s.

02:07:23.000 –> 02:07:25.880
It was like, “Oh, no, we can’t have disabled people

02:07:25.880 –> 02:07:27.040
on the stage.”

02:07:27.040 –> 02:07:29.280
I remember them telling Robert Wyatt

02:07:29.280 –> 02:07:31.760
not to have his wheelchair,

02:07:31.760 –> 02:07:33.640
which he refused to comply with.

02:07:33.640 –> 02:07:35.840
They wanted to put him into a chair and to sit there.

02:07:35.840 –> 02:07:36.960
And he was like, “No.”

02:07:36.960 –> 02:07:38.720
And it was this idea of,

02:07:38.720 –> 02:07:40.320
“Oh, no, we can’t have disabled people

02:07:40.320 –> 02:07:42.360
on a wheelchair in the public eye.”

02:07:42.360 –> 02:07:44.720
It’s a bit like the way some people are with trans people

02:07:44.720 –> 02:07:48.160
or queer people or it seems to be this whole thing of like,

02:07:48.160 –> 02:07:49.760
“Oh, we can’t, the people are different.

02:07:49.760 –> 02:07:53.600
We’re just gonna want them out of the way and it’s horrible.”

02:07:53.600 –> 02:07:54.560
But to give credit,

02:07:54.560 –> 02:07:57.000
and I’m not into Seal and Croft’s work,

02:07:57.000 –> 02:07:58.880
it’s very, how do you describe it?

02:07:58.880 –> 02:08:01.880
Not even folk, it’s sort of like very middle of the road.

02:08:01.880 –> 02:08:02.840
But they stuck with him

02:08:02.840 –> 02:08:05.760
and I think he did several tours with them.

02:08:05.760 –> 02:08:07.680
And then joined Tickle Tune Typhoon

02:08:07.680 –> 02:08:10.240
and did songs about being different.

02:08:10.240 –> 02:08:11.920
It was just part of the band.

02:08:11.920 –> 02:08:13.280
Very talented man

02:08:13.280 –> 02:08:17.320
and broke those doors down for other disabled musicians.

02:08:17.320 –> 02:08:20.280
So good on you Danny Deardorff.

02:08:20.280 –> 02:08:24.080
I mean, I’ve played the Stars tracks so long ago

02:08:24.080 –> 02:08:25.920
’cause I think with WFMU, I heard it

02:08:25.920 –> 02:08:27.960
and it was such a weird song,

02:08:27.960 –> 02:08:30.440
but it’s his voice, his voice is amazing.

02:08:30.440 –> 02:08:31.280
And I liked it.

02:08:31.280 –> 02:08:32.560
It wasn’t the case of like me just playing it

02:08:32.560 –> 02:08:33.480
just ’cause it’s weird.

02:08:33.480 –> 02:08:35.400
‘Cause you know, I play weird stuff

02:08:35.400 –> 02:08:36.320
but I like it.

02:08:36.320 –> 02:08:38.480
I don’t play weird shit, I don’t like.

02:08:38.480 –> 02:08:39.320
I love his voice.

02:08:39.320 –> 02:08:41.240
In the thread on, for some reason,

02:08:41.240 –> 02:08:43.760
someone posted onto shit record covers.

02:08:43.760 –> 02:08:45.880
There’s a Facebook group called Shit Record Covers

02:08:45.880 –> 02:08:47.200
and it isn’t a good, it is a true,

02:08:47.200 –> 02:08:49.960
it is not a good record cover for his first record.

02:08:49.960 –> 02:08:54.960
It is just, it’s a bit kind of like that Little Britain

02:08:54.960 –> 02:08:58.320
with the two, the carer and Matt Lucas in the chair.

02:08:58.320 –> 02:08:59.160
It’s a bit like that.

02:08:59.160 –> 02:09:02.560
It’s just, it’s yeah, it’s just, I mean, one sense,

02:09:02.560 –> 02:09:04.760
like I just said, put it out and center,

02:09:04.760 –> 02:09:08.000
but there’s also, yeah, it is a cheesy record cover.

02:09:08.000 –> 02:09:10.760
It doesn’t really work as a record cover, but anyway.

02:09:10.760 –> 02:09:12.880
Yeah, I was educating people on Danny Deardorff

02:09:12.880 –> 02:09:13.880
’cause I did a bit of dive

02:09:13.880 –> 02:09:15.680
I was like, oh yeah, I know this song.

02:09:15.680 –> 02:09:17.480
I know this album, it’s actually quite good.

02:09:17.480 –> 02:09:18.720
You know, there’s some good songs on there

02:09:18.720 –> 02:09:21.080
that are quite strange and they are quite strange.

02:09:21.080 –> 02:09:22.720
Some of the Danny and Joseph stuff is strange,

02:09:22.720 –> 02:09:25.880
but they did a brilliant cover of “Sentimental Lady.”

02:09:25.880 –> 02:09:27.760
Bob Welch, which I mean, seriously,

02:09:27.760 –> 02:09:30.480
covering Bob Welch is always gonna endear me.

02:09:30.480 –> 02:09:32.360
But yeah, now check it out Stars.

02:09:32.360 –> 02:09:34.280
I think you should find it on YouTube,

02:09:34.280 –> 02:09:35.200
Danny and Joyce

02:09:35.200 –> 02:09:38.320
As I said in that thread, it reminded me of Vic Chesnutt,

02:09:38.320 –> 02:09:40.400
not just because they were both in wheelchairs,

02:09:40.400 –> 02:09:42.560
but he had a similar voice.

02:09:42.560 –> 02:09:44.360
I don’t know whether it’s a physical thing

02:09:44.360 –> 02:09:47.040
’cause Gaelynn Lee as well has a similar voice.

02:09:47.040 –> 02:09:49.880
It’s very plaintive, but I think it might be very head voice,

02:09:49.880 –> 02:09:51.880
very nasal, maybe the lack of muscles.

02:09:51.880 –> 02:09:52.720
I’m not sure.

02:09:52.720 –> 02:09:55.680
Very distinctive voice that I’ve heard

02:09:55.680 –> 02:09:57.400
on a few disabled musicians,

02:09:57.400 –> 02:09:59.040
and I don’t know whether it’s a physical thing

02:09:59.040 –> 02:10:00.600
or just a thing like that, I don’t know.

02:10:00.600 –> 02:10:03.120
And then before that, we had Ghosts in the Abbey

02:10:03.120 –> 02:10:05.240
by Elizabeth Parker from the new album.

02:10:05.240 –> 02:10:09.440
There is an album of her work called Future Perfect.

02:10:09.440 –> 02:10:11.840
Came out about a couple of weeks now.

02:10:11.840 –> 02:10:14.120
Really well worth checking out.

02:10:14.120 –> 02:10:16.720
I knew of Elizabeth Parker from the Radiophonic Workshop

02:10:16.720 –> 02:10:20.600
and I knew of her work and I knew she did Living Planet

02:10:20.600 –> 02:10:22.040
and Living Planet was a big hit.

02:10:22.040 –> 02:10:23.800
They released that on record separately,

02:10:23.800 –> 02:10:25.240
and things like that.

02:10:25.240 –> 02:10:26.720
But I hadn’t really checked her stuff.

02:10:26.720 –> 02:10:28.280
And actually, you listen to it now and you go,

02:10:28.280 –> 02:10:33.280
“Oh, you can hear all those influences for vapourwave

02:10:33.280 –> 02:10:37.200
for One Oh Trix Point Never, and all that sort of stuff.

02:10:37.200 –> 02:10:39.120
So she was really ahead of her time.

02:10:39.120 –> 02:10:40.480
Then before that, we had Fake Jew

02:10:40.480 –> 02:10:43.080
That’s their name, not me.

02:10:43.080 –> 02:10:45.440
With “Ghosts Swimming Pools”

02:10:45.440 –> 02:10:47.280
that’s Kendrick Lamar versus Presets

02:10:47.280 –> 02:10:49.360
So a little more of a beat chopping up.

02:10:49.360 –> 02:10:52.320
There aren’t that many mashups, hardly any.

02:10:52.320 –> 02:10:53.960
In fact, that’s it.

02:10:53.960 –> 02:10:57.680
And one or more, which is coming up shortly,

02:10:57.680 –> 02:10:59.840
of Presets – Ghosts.

02:10:59.840 –> 02:11:01.920
I’ve played them before and I wanted to play

02:11:01.920 –> 02:11:04.320
a mashup or a cover and I couldn’t find any covers.

02:11:04.320 –> 02:11:06.280
No one’s covered Ghosts by Presets.

02:11:06.280 –> 02:11:07.120
It’s weird.

02:11:07.120 –> 02:11:09.560
I would sort of someone would have covered it at some point

02:11:09.560 –> 02:11:11.640
on Triple J or something like that.

02:11:11.640 –> 02:11:14.680
No, that’s the only mashup I could find.

02:11:14.680 –> 02:11:16.840
That one, and so I made another one

02:11:16.840 –> 02:11:19.040
because I wanted to sort of fit with the theme

02:11:19.040 –> 02:11:23.960
and I am obsessed, still obsessed with Ghosts by the Presets.

02:11:23.960 –> 02:11:25.960
Very much talking about aging.

02:11:25.960 –> 02:11:29.120
And that’s kind of a running theme in this podcast.

02:11:29.120 –> 02:11:31.200
Then before that, we had one of mine,

02:11:31.200 –> 02:11:33.800
tbc aka Instamatic with Time to Hold On

02:11:33.800 –> 02:11:34.880
talking about time.

02:11:34.880 –> 02:11:37.520
That’s Kylie Minogue versus Pink Floyd

02:11:37.520 –> 02:11:40.520
Time versus Hold On To Now.

02:11:40.520 –> 02:11:41.920
I think that works really well.

02:11:41.920 –> 02:11:45.320
Some may differ, but I think that still holds up.

02:11:45.320 –> 02:11:47.520
And there is a video, if you go and look at the timbearcub

02:11:47.520 –> 02:11:49.760
mashup channel, you’ll be able to see that.

02:11:49.760 –> 02:11:52.720
A very rare video of my work.

02:11:52.720 –> 02:11:54.760
Then before that, from the new album,

02:11:54.760 –> 02:11:58.520
Through Trains that’s Mark David Hadley with Scratchings

02:11:58.520 –> 02:12:01.080
That was released about months ago again,

02:12:01.080 –> 02:12:02.600
or maybe a few weeks ago.

02:12:02.600 –> 02:12:05.840
You can find that on his bank account and buy a copy.

02:12:05.840 –> 02:12:09.720
It’s very good. It’s soundbymark.bankamp.com.

02:12:09.720 –> 02:12:11.840
And before that, we had LeeDM101

02:12:11.840 –> 02:12:15.400
with a bit of synthwave, meets John Denver.

02:12:15.400 –> 02:12:19.040
That’s LA Roads John Denver versus The Midnight.

02:12:19.040 –> 02:12:20.680
That’s fairly recent as well.

02:12:20.680 –> 02:12:23.320
And before that, oh no, not again.

02:12:23.320 –> 02:12:26.960
We had Blue Whale yes, The Blue Mammal Waltz

02:12:26.960 –> 02:12:31.960
by Tickle Tune Typhoon, which I had to play because, seriously,

02:12:31.960 –> 02:12:35.200
me and Hitchhikers and Whales and also QI.

02:12:35.200 –> 02:12:38.640
I’m a fan of QI, so “lue Whale is a running joke on QI.

02:12:38.640 –> 02:12:40.800
When is that going to come back?

02:12:40.800 –> 02:12:44.000
And that’s from 2000’s Singin’ Science

02:12:44.000 –> 02:12:46.360
Then before that, we had Elizabeth Parker again

02:12:46.360 –> 02:12:48.480
with Insect Revolt

02:12:48.480 –> 02:12:51.680
That’s from the recent compilation.

02:12:51.680 –> 02:12:54.440
And then at the start of that section,

02:12:54.440 –> 02:12:57.760
we had Waldir Calmon with Afro Son.

02:12:57.760 –> 02:12:59.960
Yes, you’ve probably forgotten about it now,

02:12:59.960 –> 02:13:04.960
but yeah, complete ripoff of Jean-Jacques Perrey’s EVA.

02:13:04.960 –> 02:13:07.000
With a woo, no, it’s supposed to be spacey.

02:13:07.000 –> 02:13:08.880
It sounds a bit ghosty, actually, but anyway.

02:13:08.880 –> 02:13:10.720
Ghosty space, space ghost, I don’t know.

02:13:10.720 –> 02:13:13.240
Brazilian composer I was right, it was Brazilian

02:13:13.240 –> 02:13:17.680
Again, something that I was planning to put in many podcasts

02:13:17.680 –> 02:13:19.040
and it never got there.

02:13:19.040 –> 02:13:21.080
So I hope you’re all well.

02:13:21.080 –> 02:13:22.360
This is the end of the podcast

02:13:22.360 –> 02:13:24.440
and I’ll play out with a track,

02:13:24.440 –> 02:13:27.320
another mashup of mine unusual amount of mashups,

02:13:27.320 –> 02:13:29.080
four mashups of mine, is that, or three?

02:13:29.080 –> 02:13:30.880
Is it four, is it three?

02:13:30.880 –> 02:13:33.080
No, three, three, yeah, that’s not too bad.

02:13:33.080 –> 02:13:38.960
So I decided to mash up the Presets – Ghosts

02:13:38.960 –> 02:13:41.120
with Cat Stevens.

02:13:41.120 –> 02:13:44.160
One of the mashups became about something

02:13:44.160 –> 02:13:45.240
while I was doing it.

02:13:45.240 –> 02:13:47.560
And it’s kind of a running theme in this podcast,

02:13:47.560 –> 02:13:49.200
not just the ghosts bit.

02:13:49.200 –> 02:13:52.640
And so this is “Ghosts of My Father”

02:13:52.640 –> 02:13:54.640
with the presets versus Cat Stevens.

02:13:54.640 –> 02:13:56.000
My dad’s still alive.

02:13:56.000 –> 02:13:59.840
The art of it is actually my great, great uncle Robert.

02:13:59.840 –> 02:14:03.720
So it is kind of related to family and genealogy

02:14:03.720 –> 02:14:06.680
and I’ve been doing a lot of genealogy recently.

02:14:06.680 –> 02:14:09.680
And yeah, Father and Son is a very meaningful track

02:14:09.680 –> 02:14:11.640
for a lot of people, partly because it was used

02:14:11.640 –> 02:14:13.640
in Guardians of the Galaxy,

02:14:13.640 –> 02:14:17.480
but it’s always been one of those interesting tracks.

02:14:17.480 –> 02:14:19.440
In Cat Stevens’ career.

02:14:19.440 –> 02:14:23.240
So anyway, I’ll speak to you soon and I hope you enjoy this.